THE CONJURING (2013)

Director James Wan is rapidly becoming Hollywood’s go-to man for superior supernatural fright flicks. Sandwiched in between the genuinely creepy INSIDIOUS - and the eagerly awaited sequel INSIDIOUS: CHAPTER 2 - we have THE CONJURING, a film which delivers such a proficient stream of jolt shocks you could strap it to Baron Frankenstein’s monster and bring it to life.

Based on the case files of the real-life married demonologists / paranormal investigators Ed and Lorraine Warren (Patrick Wilson and Vera Farmiga), the film gives us an interpretation of the alleged events which occurred when the Warren’s were called upon to help the Perron family (mum and dad played by Ron Livingston and Lili Taylor) who encounter ‘bumps in the night’ on an increasingly threatening scale in their secluded farmhouse in the 1970’s.

Once again Wan demonstrates his clinical affinity for staging spooky set-pieces and he pulls off some genuine spine-tingling moments and real jump-out-of-your-seat scares. In this he is aided considerably by a sound mix which infuses proceedings with an insistent dread and then cranks the ‘boo!’ cues up to ‘11’ on the volume dial.  Director of photography John Leonetti (INSIDIOUS) provides a crisp widescreen canvas in which to judiciously cloak the screen in the kind of primal darkness where you just know that lighting a match or flicking on a torch will suddenly reveal something unholy.

Despite the almost relentless barrage of bangs, crashes, self-slamming doors and worse...the cast hold their own and present us with credible and, most importantly, sympathetic characters. And when the you-know-what really begins to hit the fan in the film’s final third, the impact of these scenes is helped immeasurably by the performances of Wilson, Farmiga and Lili Taylor who throw themselves heart and soul into the maelstrom of events. 

It has to be said that the film does at times have a feel of being a slick, efficient compendium of the ‘Greatest Moments from Previous Supernatural Films’. (For spoiler reasons I can’t go into detail here but trust me, if you were to go into the cinema with a pencil and a checklist of spooky clichés to mark off, you’ll have ticked practically every box by the time the end credits roll - assuming your pencil hasn’t flown out of your hand during one of these actual moments that is).

But Wan pulls these off with great assurance, and there are some unique touches in there too, so by the time the house lights come back up you won’t feel cheated by the quota of quality ‘boo!’ moments for your money.

****(out of 5*)

Paul Worts

An Interview with HATCHET III director BJ McDonnell

On board the good ship HATCHET there’s a new captain on deck for the third instalment in the franchise. Previous captain, and creator of swamp slaughterer Victor Crowley, Adam Green, has this time entrusted able shipmate and camera operator BJ McDonnell from the previous two instalments to take the helm on HATCHET III. On the morning after the Hollywood premiere, BJ very kindly found the time to talk to me about his fascinating career path to date and his experiences navigating through Victor Crowley’s swamps on his feature film directorial debut.

My first question is one that probably every horror fan in the UK wants the answer to BJ: Is Adam Green a complete c**t or what?

BJ: He’s a massive c**t!

I thought so, the truth will out.

BJ: No, he’s cool. It was pretty cool of him to give me the chance to do a directing gig – cos he knew I wanted to direct. It was really very thoughtful of him to do that and I’m really thankful for that opportunity, it was a great stepping stone for me. 

So what was your immediate reaction when Adam told you?

BJ: I was really excited when he asked me to do it, and he knew that because I was the camera operator on the first 2 that I knew the drill and knew what to do. I was really excited about it until later on when I thought: you know, this is kind of a tough gig. On the one hand you’ve got the diehard fans that are expecting it, and then you have the people who aren’t the fans that don’t like it at all and you’re already being ridiculed by the fact you’re just associated with it. So I said: Ok, I’m gonna try and make this as best as I can and to make it as fun a movie as I can and hope to get some people who hated the HATCHET movies back or the ones who got discouraged from part 2 and have them come back with this one. I hope I did my job.

While you were filming in the tough swamp conditions was there ever a time when you thought:  I wish I was just back doing my band stuff with Lick 57?

BJ: (Laughs) I don’t think there was ever a time when I thought that because honestly sitting in a hot stinky tour van with a bunch of punk rockers was basically just as sweltering hot and nasty as a swamp could ever be.

What did you want to be when you were a kid (before wanting to be in a punk rock band that is)?

BJ: When I was a little kid I wanted just to be Dracula.

Excellent!

BJ: That was my first career that I wanted and then I realised that would never happen...You know it was funny cos I’ve always been big into arts and music and movies. My grandfather was an actor [Leif Erickson – who worked with amongst others, William Castle on STRAIGHTJACKET, and ON THE WATERFRONT with Marlin Brando] and going with him to movie sets was always really inspiring to me – he was great, a wonderful man.

And then the whole music aspect thing, I just loved punk rock and metal. I didn’t really know where I wanted to go but right out of high school I went straight into being in a punk band and that was that. Crazy right?

Living the dream. And then you changed career paths and moved into the film industry as a grip, a camera operator and steadicam operator. Looking at your hugely impressive résumé, you’ve worked on an incredible range of films with an incredible roster of directors. Which film would you say was the best experience you’ve had to date on set as a camera/steadicam operator?

BJ: There’s a couple. Definitely all the Rob Zombie movies have always been amazing because it’s just a unique way of shooting movies and it’s just amazing to be involved with someone that’s so visual and has a great eye for things and knows how to visually tell a story. He’s just an artist and he knows his shit – the guy is truly passionate about every little thing he does – he’s not just Rob Zombie the rock star who wants to be a director: he truly is a director. 

The other director who was just crazy to be around and was just truly inspiring to work with was William Friedkin [on KILLER JOE]. He was just unbelievable. I’ve never seen someone so ready and so having his actors prepared. You get one or two takes and that’s it, you move on; and it’s amazing the performances he would get out of his actors. I would love to go in the trenches with that guy again any day.

So he didn’t pull a gun out on you like he did to the cast during the filming of THE EXORCIST?

BJ: He DID pull a gun out and he DID shoot it in the air – I’m not gonna lie! (Laughs) He did pull out a gun, I will say he did. It definitely got a response: it was pretty great (!)

Okaaaay...And what was it like working on the lens flare with J.J. Abrams on STAR TREK INTO DARKNESS?

BJ: It was fantastic. We were using Panavision Millennium XL’s with the anamorphic lenses and IMAX cameras. I was only on it for a little bit doing some of the 2^nd unit stuff. I did some crane work for the opening with the tribal people running through the forest on that planet. And then I did some stuff with the ship to ship sequence where Khan and Kirk go flying through the airlock – that was pretty intense. We had some stunt guys on wires going 50mph in this long Howard Hughes air plane hangar building which was really impressive. And as for J.J. – he’s just the nicest guy in the world – he’s just a cool dude. I wish I could’ve stayed there longer but then I had to get down to the swamp and start prepping for HATCHET 3.

STAR TREK INTO DARKNESS was post-conversion 3D. How do you feel about 3D both as a camera operator and as a cinema goer?

3D is just a hard thing to work with; the cameras are so big; you have to have all the lenses in synch – you lose your day with the workflow of 3D. I think that the converting process has got so good now there’s no reason to shoot things in 3D – and from a director’s standpoint I think you waste time waiting for everything to work – it’s a pain in the butt. But I mean that’s not to say I don’t enjoy watching 3D movies, I do enjoy them, but working with 3D cameras it’s just too time-consuming and you just don’t get what you want out of the day.

So there was no chance of HATCHET 3D then?

BJ: Nope, not in my books.

No 3D then, but unlike the previous two instalments, you did shoot HATCHET III in the widescreen ‘Scope format. Any particular reason for that? Do you just prefer ‘Scope or was it perhaps to make the film look like it had a bigger budget than it actually had?

BJ: That’s exactly it. I don’t like 1:85. If you’re going to shoot a feature film and you’re going to try to make it look more epic or bigger and you have cool locations to shoot in then why not shoot it ‘Scope? Why not make sure you can get everything into the lens that you’re shooting. If you’re gonna shoot in a real swamp this time let’s take it in and shoot the scenery. Let’s see it. Plus it does make the movie look way bigger, way more cinematic than the previous two.  You know I’m a big fan of the first HATCHET, I love the first film still to this day, but I’m really happy with what we did with the third one by just making it look bigger and with less of a budget than either parts 1 or 2.

How easy or hard was it to let go of the camera and give it to cinematographer Will Barratt?

BJ: Well Will’s always been in control of it with the lighting and everything. I did all the steadicam in it because I couldn’t afford a steadicam operator. And then my buddy Brian Sowell and my other friend Eric Leach were the camera operators (Eric also did 2^nd unit DP and directing for me). It was one of those things where I’d rather be behind a monitor watching the performance than actually trying to compose a shot. It was hard you know for me to let go of those things and I definitely worked with Will closely and I pushed him pretty hard on this. I definitely was a little more adamant about camera and angles and things like that than Adam ever was on the other ones. And I know Will’s really proud of it and I think he did a killer job you know with the amount of time we had and things we had to accomplish. Will came through and was just amazing to work with.           

Did Adam get in the way and interfere like Spielberg did on Tobe Hooper’s POLTERGEIST?

(Laughs) No, Adam didn’t get in the way at all. He was definitely there on location with us and every now and then he had to ‘put out some fires’ (as a producer should). It’s tough shooting in a place where you don’t know the crew and things like that – and I think he really got to experience how tough that was as being a producer like that. But honestly it was really refreshing for me the fact that Adam wasn’t next to me all the time and wasn’t looming over me because it just showed me he trusted in what I was doing with the film and knew I would do a good job. So to me I take that more as a compliment than anything. He would definitely show up to see the gore. If he knew we were killing someone he would love to show up and see that and then he’d take off. So that was cool, and it made me feel good that that was the way that went.

Speaking of the gore, is it all physical effects: no CGI?

BJ: There’s no CGI although we did have to do some ‘touch ups’ on some things. Cos the way we did this and what was in the script from what me and Adam actually came up with, there’s just no way we couldn’t not touch it a little bit with some computer help. Not being that we CGI’d anything but we definitely shot everything real. We shot all the gore stuff and then if things didn’t work we had to use computers to stitch what we had shot onto certain things to make it work. So it’s not really CGI but yes there was some computer work in there. I’m not gonna lie about that.

Is it correct that Kane Hodder’s make-up as Victor Crowley weighed in total 50lbs?

BJ: Yeah, it was all silicone this time. It was tough for him to move around in that you know, but Kane’s such a trooper, he’s just so good. When he gets that make-up on he IS Victor Crowley, and he is ready to just go for it. You know what you’re gonna get with Kane, he’s amazing, and the fact we used silicone as opposed to latex means you can see emotions in his face. He looks mean man! And I said to Will, look, when we shoot Victor Crowley let’s make it dark, let’s make this movie dark and gritty like almost a lot of grain to give the film a look like a late 70’s - early 80’s movie. I wanted to take Victor Crowley darker also.

But he’s not scary to direct then?

BJ:  On man I’ve known Kane for a long time and the more I know Kane the more just a prankster he is and a jokester. For me that’s the way I know him and I love the guy, but I guess for other people who don’t know him he can be a little bit intimidating. He definitely loves to scare people and that’s kinda fun on set too. He just sneaks up on people and freaks them out or hides in the bushes and jumps out at them.

He’s had quite a bit of practice at that hasn’t he?

BJ: He’s had tonnes of practice at that! He’s a pro!

And Derek Mears has also had some practice at that too...

BJ: Yeah, Derek definitely has too. The thing with Derek on this one though he’s not behind a mask. You know, he’s a really good actor and Derek’s a really funny guy, he’s more of a comedian than anything – really quick and funny. Being on set with him he had great ideas, and when you work with him he’s like a kid that just wants to give you the best thing ever: the best performance and really make you proud. It was a pleasure working with Derek - even though he was playing a pompous arsehole in the movie - he’s just great. I don’t want to take away the allure of him being a mean or big bad guy but I love Derek Mears to death, he’s a genuinely great human-being.

He was brilliant in HANSEL AND GRETEL: WITCH HUNTERS as Edward the giant troll. In fact I thought he was by far the best thing in the film.

BJ: I do too.

And you’ve got one of my very favourite actresses returning from HATCHET II, Danielle Harris. Now of course she knew what she was signing up for having already faced Victor in the first sequel. But then you have HATCHET virgins like Zach Galligan who presumably didn’t know quite what he was letting himself in for?

Zach Galligan and Derek Mears brave the swamps.

BJ: Zach was super cool. I’d already worked with Danielle and so was very comfortable with her. Zach was someone I’d chose who I wanted to cast. I told him, look man I’m not going to sugar-coat this whole thing, it’s going to be absolutely horrible. The worst experience of your life. It’s going to be gators and rain and mosquitoes and bugs – it’s going to be like going to war. But when all is said and done it’s going to be a really cool movie; and I’d love to have you! I didn’t bullshit him and he signed on. He was a true pro; the guy always knocked it out of the park, very professional and just a pleasure to work with. I look forward to working with him again.

And presumably you didn’t have any issues or problems with your head of make-up department, Adrienne Lynn? [BJ’s real-life partner]

BJ: Oh of course not, no (laughs). She actually helped me through the whole thing, even in the pre-production by finding me boats, locations and everything else. She was just a godsend to have helping me.

And of course with make-up comes effects, and with effects comes gore, and with gore comes problems with the MPAA...

BJ: This time around, believe it or not, we didn’t have that much of a problem. We got an NC17 – which I don’t care, I think it’s kinda awesome.
It basically means you’ve done your job!

BJ: That’s exactly what it means and I have no problem with that. It’s just the deal with trying to get the movie into certain theatres. We did have to do an R rated cut, which isn’t really much different you know. There’s a couple of things which are cut out but it’s not as bad as you think and I didn’t have to deal with the same thing that Adam had to deal with in HATCHET II. But I didn’t do the kills – I tried to make them a little bit less...well I can’t say less they’re pretty graphic. I honestly don’t know what I did to make them [the MPAA] be a little happier, maybe it was just the fact that I directed it and Adam didn’t – maybe they have a thing for Adam because of what happened, I don’t know.

Well he had no such problems over here in the UK with our BBFC I’m proud to say, so fingers crossed it will be the same for HATCHET III. I also hope we get a chance to see it here in the cinema on the big screen.

BJ: I hope so too man, the sound is killer on it - Mat Walters [sound re-recording mixer] killed it! If you get to see it make sure they turn that sound system up in the theatre!

Is there anyone you haven’t worked with yet that you’d love to work with – and any dream project you’d like to do?

BJ: As a camera operator I’d like to work with Christopher Nolan – I’m a huge fan. Also, Michael Bay, even though a lot of people say run away from Michael Bay. I’m an action guy also, I love action films.

Directing-wise I’d love to work with Tom Cruise again, he’s super-cool. I worked on JACK REACHER and just watching him in the car doing his own stunts was just like there’s a reason why you’re Tom Cruise – and that’s why. The guy is a genuinely awesome dude. He’s a pro, he’s always on time, ready to go, knows his lines, nice to the crew, nice to everybody and you watch him work and he’s amazing.

Now I’ve heard mutterings already among some fans that maybe you’re the guy to direct the next FRIDAY THE 13^TH sequel. How would you feel about that?

BJ: Really? People have been saying that? Phew, that’s a big task! You know, I would love to do it, it would be amazing to do it, but it has to be a good script. It’s hard to do franchises, even this alone as HATCHET III it’s tough to actually take someone’s baby that they created and really go with it - keep it the same but also put your touch on it.

Personally, apart from Derek Mears performance as Jason, I thought the FRIDAY THE 13^TH reboot was pretty poor.

BJ: Derek was awesome. The only thing I thought was weird was there was like a bat cave for Jason Voorhees – I was like: what is that? I just kinda like seeing Jason pop out of nowhere and just kill. And that just goes with the old school environment of liking the old ones.

It felt more like a Texas Chainsaw Massacre film to me.

BJ: I liked the remake of the TCM – I thought it was really well done.

Agreed. So back to HATCHET III which has had some amazing reviews and reactions already – but then you’ve had those f*ckers at Fangoria...

BJ: (Laughs)  It’s tough whenever you have a magazine you grew up loving and you get a rough review, but you know what, there’s gonna be bad reviews. Every movie isn’t gonna be glowing. It’s just opinions and I honestly think it’s even fun to post the bad ones, it’s like why not? Sam Zimmerman over at Fangoria, the guy that did that review, I like the guy I think he’s great. We did karaoke at Comic Con and he’s a fantastic dude, but he’s opinion is his opinion and I respect that and I can’t expect everyone to love it. You can’t win them all.

Indeed. Just look at the genre you’re working in. The most maligned genre going.

BJ: Yes, exactly.

Thank you so much BJ for taking the time to talk to me. I wish you all the best for HATCHET III - I hope to see you over in the UK at some point – and I look forward to interviewing you on your next movie.

BJ: Awesome, I’ll look forward to it, thank you so much. 

Interviewed by Paul Worts

SWEET VENGEANCE (AKA: SWEETWATER) 2013

Directed by Logan Miller, Starring: Ed Harris, Jason Isaacs, January Jones, Eduardo Noriega   Western, US, 2012, approx. 91mins, cert 15.
Released in UK on DVD by Entertainment One on the 3^rd June 2013.

In the late 1800’s, newlyweds Miguel (Educardo Noriega) and Sarah (January Jones) are struggling to cultivate their piece of land in the unforgiving dusty plains of the Old West. Times are tough, and it doesn’t help when sheep from the nearby flock of fundamentalist preacher Prophet Josiah (Jason Isaacs) stray onto their land and nibble away their meagre crops. The townsfolk aren’t remotely supportive either; the bank manager siphons half their savings; the local shopkeeper is a peeping tom; whilst Sheriff Kingfisher is more than happy to turn a blind eye to all manner of wrong-doing.
But that’s not the half of it in this deliciously twisted tongue-in-cheek take on the Western...

The Prophet Josiah’s moral code is as flexible as a double-jointed contortionist, and no one is seemingly above judgement in his deluded world-view. On top of this there’s a new sheriff riding (and waltzing) into town to replace ineffectual Sheriff Kingfisher. Enter Cornelius Jackson (Ed Harris), a maverick law keeper destined to lock horns with Josiah. “You’re a queer man” remarks a nonplussed Josiah, to which Jackson replies: “Unusual, I prefer unusual: never queer”.  

Compared to Tarantino’s near three hour long DJANGO UNCHAINED, director Logan Miller unfurls this rip-roaring romp in an admirably succinct 85 minutes (the end credits bump the running time up to 91 minutes). The narrative shifts faster than a thoroughbred colt bolting from a glue-maker, and corpses soon start to pile up as revenge becomes the order of the day.

Miller injects unexpected moments of casual violence like mule kicks which punctuate the ripe dialogue and even riper characters. Against this backdrop the main leads are clearly relishing the chance to play along with the deliriously over-the-top screenplay. Ed Harris’ barnstorming performance as quirky Sheriff Jackson is simply extraordinary, and he pulls off several jaw-dropping scenes which practically steal the show. Not that he hasn’t got some stiff competition from Jason Isaacs. Delivering lines such as: “Now you will hang there in shame until the sun dries your scrawny testicles into leather hide...” Isaacs gives us a character which makes Lucius Malfoy from the HARRY POTTER franchise seem positively cuddly in comparison. And at the heart of the story we have January Jones’ Sarah, who strides convincingly through her challenging and pivotal role with measured assurance. 

Compared to the events which precede it, the dénouement in comparison feels a tad conventional and downbeat. But perhaps this is just a testament to how much fun the twin brother team of director Logan and writer Noah (Miller) have provided us with in the interim.

This review was originally published by FrightFest.

****(out of 5*)

Paul Worts

DALEKS' INVASION EARTH 2150 A.D. (1966)

Directed by Gordon Flemyng, Starring: Peter Cushing, Bernard Cribbens, Roberta Tovey, Jill Curzon. Science Fiction, UK, 1966, approx 84mins, cert U.

Released in UK on DVD & Blu-ray by Studiocanal on the 27^th May 2013.

Following hot on the heels of the financial success of its predecessor, DALEKS’ INVASION EARTH 2150 A.D. landed in 1966. Directing responsibilities once more fell to Gordon Flemyng, who was reunited with Peter Cushing reprising the role of the Doctor and Roberta Tovey as his younger granddaughter Susan. Neither Roy Castle nor Jennie Linden were available so Bernard Cribbins (Tom Campbell) and Jill Curzon (Louise) were brought in as replacements.

The film opens as bobby on the beat Tom patrols a night-time London street and encounters a jewellery shop robbery in progress. Attacked from behind by one of the crooks he stumbles injured toward a police box further down the street....This surprisingly gritty opening scene is somewhat unexpected in a ‘U’ certificate sci-fi film. Director Flemyng underscores the sequence with the deceptively soothing strains of Bach’s Toccata and fugue in d minor and it provides a pleasingly dramatic jolt to the pre-credit proceedings.

Arriving back in London in the year 2150 A.D., the Doctor and his three companions step out of T.A.R.D.I.S. into a ruined and rubble strewn landscape which looks more like blitz ravaged London of 1940-41 than of anything remotely futuristic. Amongst the dust and debris there are prominent advertising hoardings for ‘Sugar Puffs’ (an early example of British product placement on screen) and as the characters repeatedly pass by them the camera lingers just for a second or two longer than absolutely necessary.

The Daleks have invaded Earth and appear to have pretty much laid London to waste. But a plucky band of resistance fighters, boasting amongst their ranks Ray (MR BENN) Brooks, are hiding out in Embankment Underground station and are plotting to overthrow the metallic exterminators.

This second big-screen outing for the “motorised dustbins” is far more fun (in a guilty pleasure way) than its largely by-the-numbers predecessor. The sight of a Dalek emerging from the Thames like some kind of robotic shark is almost worth the price of admission alone. Then there is the striking image of a firing squad of Daleks surrounding a wood cabin and unleashing their fire extinguisher weapons to explosive effect. If that wasn’t enough they are also busily transforming the male populace into an army of Robomen. The Daleks robotise slaves using what appears to be 1960’s hairdresser pods and deck them out in shiny black gimp-like PVC bin-liners and pre-Judge Dredd helmets with a transistor radio stuck on the side. Disguised as a Roboman, Bernard Cribbins infiltrates their flying saucer HQ, and discovers they are being fed on a diet of dolly mixtures.

The aforementioned flying saucer (resplendent with clearly visible supporting wires in flight) boasts an impressively steep entrance ramp and much fun is to be had watching the Daleks attempting to negotiate the incline. During an all out assault on the craft one of the metallic salt and pepper shakers is pushed down the ramp and you cannot but help fear for the operator inside as it gathers momentum.

The deliriously daft plot culminates in a race against the clock in a mine in Bedfordshire (now that’s a phrase one rarely gets to use). At least this time the dastardly Daleks’ dialogue is delivered without the enforced staccato which plagued the first film.

As for the humans, Bernard Cribbens (who was to return to the TV series in 2007) gets some impressively heroic moments (or rather his stunt-double does) before being given the chance by the Doctor to re-write a little piece of personal history. Peter Cushing takes more of a backseat role this time around, but still puts in a typically proficient and dependable performance. Young Roberta Tovey once more acquits herself well, but having now encountered the Daleks on both her outings with grandfather she could easily be forgiven for declining any future trips in his time-travelling police box.  

Far more entertaining and outlandish than its predecessor, this second and sadly final outing for both Cushing’s Doctor and the Daleks on the big screen provides a positive cornucopia of retro delight. 

The film transfer is as pristine as possible given the source material and as one would expect shows up the limitations of the on-screen effects employed. The soundtrack once again retains its mono origins, but would you really want to watch a flying saucer on wires roar across the screen in 7.1 surround?

Extras: A documentary on the restoration of the film; interviews with Bernard Cribbins and Gareth Own; stills gallery and trailer.

***(out of 5*)

Paul Worts

DR. WHO & THE DALEKS (1965)

Directed by Gordon Flemyng, Starring: Peter Cushing, Roy Castle, Jennie Linden, Roberta Tovey. Science Fiction, UK, 1965, approx 82mins, cert U.

Released in UK on DVD & Blu-ray by Studiocanal on the 27^th May 2013

Back in the mid-60’s, when the world was in the grip of Beatlemania, Milton Subotsky and Max Rosenberg of Amicus Productions invested in a different ‘mania’ that was sweeping the UK. Acquiring the rights to bringing Terry Nation’s creations to the big screen, they freed the Daleks from black and white TV’s and unleashed them in glorious full-colour techniscope.

At home on the telly, the first Doctor was being played by the wispy white-haired William Hartnell. Even though he could time-travel, Messrs Subotsky and Rosenberg didn’t feel Hartnell could cross the pond and brought in the venerable Hammer stalwart Peter Cushing who was better known to US audiences.

In adapting the character for the big screen the Doctor is stripped of his alien status and is merely an eccentric inventor and kindly grandfather whose surname happens to be ‘Who’. We are introduced to his granddaughters in a nicely staged domestic scene where the camera pans from the younger granddaughter Susan (Roberta Tovey), across to older sister Barbara (Jennie Linden) – both reading scientific manuals – before settling on Cushing who is engrossed in a comic. Enter Barbara’s nervous and clumsy boyfriend Ian (Roy Castle) who is invited by the Doctor to step out into the garden to see his latest invention: a time-travelling police box known as T.A.R.D.I.S. Before you know it, Ian and the Who family are flung into futuristic space and end up on the planet Skaro. Here they encounter a peaceful race called the Thals who live in the shadow of nuclear attack from the planet’s other residents – the Daleks.

The film suffers from being studio-bound and watching it today it has the feel of a big budget widescreen episode of original series STAR TREK. The forest set is at least effectively lit with bold swathes of colour, although the mutated swamp creatures hinted at sadly never materialise. As for the titled baddies themselves, their metallic dialogue is delivered with hilariously over emphasised E-NUN-CI-A-TION. Originally the Daleks were supposed to shoot fire but this was deemed too scary for children so instead they shoot (somewhat ironically) CO2 fire extinguishers.

Acting honours go to the young Roberta Tovey who is convincing and delivers possibly the least annoying child performance of all time. Cushing is as reliable as ever and an honourable mention must also go to Barrie Ingham (Alydon - the leader of the Thals), who manages to retain his dignity despite being asked to wear ridiculous false eyelashes and a blond wig.

It all moves along at a fair clip, and never outstays its welcome. For a modern audience raised on a diet of Tennant and Smith breathlessly dashing from one state of the art effects set-piece to another the film provides quite a culture shock. But it’s a charming diversion on a wet Sunday afternoon for both Dr Who completists and casual viewers alike.

The re-mastered Blu-ray image is pin-sharp and colour-rich, highlighting every detail on display (including the obvious matte work). The techniscope film grain is of course present throughout, but this, coupled with the decision not to upgrade the original mono soundtrack, adds an authentically nostalgic feel to the viewing experience. 

Extras: an audio commentary with Roberta Tovey and Jenny Linden; Dalekmania documentary; a short feature on the film’s restoration; an interview with Gareth Owen; stills gallery and trailer. 

***(out of 5*)

Paul Worts

         

SLICE & DICE: THE SLASHER FILM FOREVER (2012)

Directed by Calum Waddell, Starring: Corey Feldman, Tobe Hooper, Mick Garris, Tom Holland, Jeffrey Reddick, Patrick Lussier, Felissa Rose, Adam Green.                   

Documentary, UK, 2012, approx 75mins, Cert 18. 

“Lots of gore, lots of nudity: that’s a slasher film”. (Corey Feldman)

Back in 2010, Calum Waddell and Naomi Holwill were working on a 20 minute featurette entitled: “How to survive a slasher film” for Arrow Films’ Blu ray release of PIECES. Having reviewed the material they’d assembled they realised what they had could potentially be expanded into a full-length documentary. With no budget whatsoever to speak of, they combined existing material already shot with additional interviews conducted in the UK and at The Sitges Film Festival over a two year period. 

Corey Feldman - vanquisher of Jason Voorhees (sort of)

Of course the slasher sub-genre has already been given the full-documentary treatment, most notably in GOING TO PIECES: The RISE AND FALL OF THE SLASHER FILM (2006). Boasting an impressive range of contributions from such slasher film heavyweights as Carpenter, Craven and Cunningham, one could argue there was no need to attempt another documentary covering more or less the same stalking grounds – particularly one without a competing budget. But that’s precisely where SLICE AND DICE gains its unique selling point. Despite the DVD cover art depicting some of the major icons of the slasher film: Voorhees, Myers and Krueger, this documentary focuses largely away from the major franchises in favour of the lesser known, and in some cases, undervalued and unloved entries in the slasher canon. If, for example, you’re expecting to see copious clips of Freddy’s nightmarish shenanigans; Jason’s Crystal Lake slaughter fests, or Michael menacing Haddonfield then you’ll be sadly disappointed. Whether this is an entirely creative decision on the part of the makers, or merely a budgetary enforced necessity, is open to debate. You do, however, get to see Leatherface wielding his trusty chainsaw and meat pulveriser in grainy trailer footage from the original TEXAS CHAINSAW MASSACRE (1974). But there’s a high degree of repetition in the range of clips used – most of which are gleaned from trailers (for example, the same sequence in THE BURNING trailer is used at least four times across the two discs). There’s also far too much footage from the PUPPETMASTER franchise – which I’m not convinced really belongs here at all – splatter: yes; slasher: no.  

Cropsey cropping fingers in The Burning

But in between the mixed bag of trailer clips and some inventive animation by editor and co-producer Holwill there’s a steady feed of genuinely diverse talking heads to provide both insightful and at times irreverent comment on the origins and conventions of the slasher genre. Marshalled into six chapters entitled: “genesis of a genre”; “rules of survival”; “the secret of slashing up a great villain”; “the final girl”; “the gore the merrier” and concluding with “you can’t kill the bogeyman”, the history of the slasher film is covered in a breathlessly entertaining 75 minutes.

FrightFest’s favourite scream queen Emily Booth credits Alfred Hitchcock’s PYSCHO as being the film which first set down the basics for the slasher blue-print. Director /writer Tom Holland (CHILD’S PLAY, PSYCHO 2) suggests some consider PEEPING TOM as being a possible contender for this honour before concurring with Emily’s choice of PSYCHO. The director of THE HILLS RUN RED, Dave Parker puts forward Agatha Christie’s TEN LITTLE INDIANS as having provided the original slasher film template – suggesting that slashers are essentially “...murder mysteries with heightened blood guts and gore – and hopefully suspense.” Emily also scores brownie points for citing the influence of the giallo – although the filmmakers drop points for listing her as a “sceam (sic) queen” on one occasion and for following up her comment on the significance of the 1970’s with a clip from TENEBRAE (1982).

Tobe Hooper also directed 'Crocodile' - but we don't talk about that

Tobe Hooper appears all too briefly muttering about meat and chains in footage which was originally recorded for the Blu ray release of THE FUNHOUSE. Corey Feldman offers his tips on how to increase your chances of survival in a slasher film (neglecting to include shaving your head and pretending to be the killer’s younger mirror-image: FRIDAY THE 13th: THE FINAL CHAPTER). And there are many other entertaining contributions far too numerous to include here.

Director Calum Waddell doesn’t impose his own views on the proceedings and this approach helps to open up the discussions and provides a fascinating and at times diverse set of perspectives on the sub-genre. The overall feel of the documentary is not so much instructional but more conversational, where the director - clearly passionate about the subject matter – is genuinely fascinated by the responses his questions stimulate.

As you’d expect from this double-act who produce supplementary material for Arrow Films’ releases, there’s a wealth of extras on this double-disc presentation. The commentary track recorded with director Waddell and Justin Kerswell (author of TEENAGE WASTELAND: THE SLASHER MOVIE UNCUT) is both fun and informative, as are the bonus ‘outtake’ (read extended) interviews with some of the contributors. Of particular note is Adam Green’s explanation for casting decisions in HATCHET 2 and his account of the trials and tribulations of releasing the film unrated in US cinemas.

Also on disc one there is footage from several premiere’s and Q & A’s of the documentary,   a music video of the theme song, and a host of trailers from Full Moon Entertainment, including the PUPPER MASTER series and SLAVES GIRLS FROM BEYOND INFINITY (hmm...)

Disc Two features a bonus 37 minute documentary entitled: DON’T GO IN THE BACKWOODS which is itself a treat, not least because it features some additional talking heads not featured in the main documentary. Lloyd (Troma) Kaufman, Tony (Fangoria) Timpone, the much missed David Hess and Tony Todd describing the Deep South traditions of road kill stew and Catfish noodling (don’t ask) are amongst the many bonus speakers.

Then we have twenty-two slasher film trailers (with optional commentary) to add the icing to this slasherfest cake.

In conclusion, Calum Waddell and his partner in crime Naomi Holwill have produced a unique personal documentary which champions the underrated and the forgotten, and gives us the opportunity to hear from some of the rarer exponents of the art of the slasher film. 

****(out of 5*)

Paul Worts

COME OUT AND PLAY (2012)

Directed by Makinov, Starring: Ebon Moss-Bachrach, Vinessa Shaw, Daniel Giménez   Horror, Mexico, 2012, 86mins, Cert 18.

In Mexico during fiesta season, Francis (Ebon Moss-Bachrach) and his pregnant wife Beth (Vinessa Shaw) are grabbing their last chance for a holiday before their baby is born. After persuading a local fisherman to lend them his small boat the couple cast off from the harbour and sail off in search of a remote island named Punta Hueca. Disembarking on the island they are greeted on the dock solely by children.
If you’ve seen Narciso Ibáñez Serrador’s WHO CAN KILL A CHILD (1976), then you’ll more or less know exactly what this couple are about to witness and the ordeal they are about to be exposed to. If on the other hand, you’re approaching director Makinov’s slick, sick and disturbing remake fresh – and providing you crank your suspension of disbelief dial up to maximum setting – you’ll find yourself rewarded with a film which gradually pulls you in and will linger with you long after the end credits have rolled. 

Your disbelief does need suspending almost from the off however. With pregnant Beth throwing up in a darkened hotel room lit sporadically by exploding fireworks from the noisy festival marching past outside, you could begin to question whether this particular vacation choice was altogether appropriate. Then, you could also question why husband Francis is so keen for them to sail off to an obscure little island in a rickety boat (albeit with a newly fitted outboard motor); knowing full-well there isn’t enough fuel in the tank to make the return trip. Don’t touch that dial yet – there’s more. Upon arriving on Punta Hueca (where mobile phones presumably don’t work – I say presumably because no one mentions or attempts at any stage to use one) the couple then spend an inordinate amount of time trying to rationalise the situation before their hackles are rightly raised. And surely no self-respecting modern horror film should allow the main character to leave his partner alone on three separate occasions whilst each time pronouncing: “I’ll be right back!” (Incidentally, I also loved Francis advising his wife shortly before disappearing again with the very helpful: “If you see anyone, just scream”.      

But looking beyond all that, director Makinov still manages to build a tangible sense of tension and impending dread during the first half of the film, helped immeasurably by a brooding and effectively eerie electronic soundtrack. Then, once the true horror of Punta Hueca begins to unravel, Makinow pulls off several visceral set-pieces and a memorably macabre montage of images which you won’t forget in a hurry.

In reflection, it’s an odd choice of a film to choose to remake. Given the glut of sub-standard genre remakes it’s surprising that Makinov thought audiences would embrace this remake of, let’s be honest, a fairly obscure original to begin with. Or that there would be an audience for it at all given its subject matter.

But judging the film purely on its own merit, it certainly delivers a nasty punch - even in these jaded days of extreme cinema – and it still has the capability of setting our moral compasses spinning with the question it poses at its core.

***(out of 5*) 

Paul Worts

(Originally published by FrightFest).